Album review

  • EP

    What Kvöl’s new EP lacks in musicality is made up for in character. The Reykjavík-based post-punk band, which counts noted “Salvation Soldier” Þórir Georg as a member, released their hazy four-song debut this past July. The album is dark and New Wave in aesthetic, constituted by programmed 808-style drumbeats; groggy, doubled guitar lines; and indistinct

  • Grúska

    From start to finish, Grúska Babúska’s wobbly, otherworldly self-titled debut is a pleasure to experience. There is something definitively narrative and theatrical about the ten-song collection, whose eclectic instrumentation includes flute, ukulele, guitar, synth, melodica, music box and a range of pitched percussion. The theatrical nature of the record derives from the constant starting, stopping,

  • BÖRN

    BÖRN’s self-titled début is what some of us have been desperately waiting for: an album that properly echoes the misery of living in Reykjavík. Unlike mediocre bands who sing their happy tunes in broken English—with heavy doses of repetitive claps and heys!—BÖRN manage to portray Reykjavík as it really is. It’s neither cute nor civilized;

  • Hugar

    I found myself six tracks into Hugar’s self-titled instrumental debut before realizing that the first song had ended. This could mean one of two things: either the lack of lyrical stimulation reaching my brain sent me into an inert mental state, or the neo-classical duo, consisting of producer-instrumentalists Bergur Þórisson and Pétur Jónsson, has achieved

  • 47

    Japanese Super Shift’s ’47’ is an unexpectedly emotional album. The record, which marks the newest creation from producer-instrumentalist Stefnir Gunnarsson, offers a healthy mix of dance-y instrumentals and mature, lyrical songs, representing a multifaceted album that feels as though it could fuel an entire evening, from the first drink to the sombre walkhome. The lyrics

  • Home

    With several albums under her belt, two No. 1 singles on the Icelandic music charts, and world touring with Gusgus as a teen, Hafdís Huld has a lot of previous musical experience to draw upon. She’s nearing her mid-thirties now, but has that certain Icelandic agelessness about her. Hafdís’s solo album `Home’ is a simple

  • Mexico

    Gusgus didn’t seem like a band that was in it for the long haul. Starting as a loosely strung collective of musicians, filmmakers, producers and vocalists, they seemed to the outsider like a mercurial proposition—a bubbling experimental formula with equal potential to expand, evaporate or explode. But after nine studio albums made over almost two

  • In the Eye of the Storm

    The trio of musicians in Monotown (two of them brothers) released their first album, ‘In The Eye Of The Storm,’ this year. The album is a mix of folk harmonies, rock ballads, and up-tempo tracks. The title song is one of the most memorable on the recording, beginning with a Grizzly Bear-like arrangement of strings

  • Trash From The Boys

    ‘Trash From The Boys’ is the best Icelandic album I have heard for a long time. It might be the best Icelandic album ever made. That might well be. I don’t know. Like a 21st century version of a younger, angrier, hungrier, dirtier, perverser, more cynical, more poisonus, more self-destructiverer version of that band Singapore

  • This Is Icelandic Indie Music (Vol. II)

    Despite the name, this sampling of Record Records’ roster carries some of the most prominent bands in the country, and like its predecessor, travels through folk, rock, dance, and even reggae. “Indie music” and “Icelandic music” are pretty synonymous; if you’re making your own music in Iceland, chances are you could be categorized as “indie.”

  • Sorrí

    Prins Póló, the essentially one-man-band project of Svavar Pétur Eysteinsson (Skakkamanage), has a new album out titled ‘Sorrí.’ I’m not sure what the “Sorry” is about, but perhaps it’s an ironic middle finger to those who might not like this very eclectic album. ‘Sorrí’ is a bit of an insider’s album that will likely be

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